This was Graham's "Day on the Green #8". Except it was actually Days on the Green, and because the Jethro Tull/ELO date was moved indoors after too few ticket sales and an iffy forecast, this was actually #7. The weekend is legendary for the Dead/The Who meeting of the minds and for the performances the boys turned in. It used to circ in frags, until the digital era (the 2nd set was traded as an FM source but copies weren't well-loved). On the 9th the Dead played first, followed by The Who, and some songs are briefer than usual for '76 (yet the 1st set is over 2hrs). As always certain bandmembers felt they blew a big one, and the show was described as "lacking life". It's not the least bit true; it's just that Who fans and Deadheads don't have a lot of crossover. Graham, famous for his match-ups, still liked the '60s model where you could mix Jazz/Blues/Rock, but audiences had already specialized. Many Heads left before The Who (maybe, like me, only liking earliest Who), and Who fans went outside during the Dead or waited restlessly, so it wasn't the usual scene/vibe. Interestingly, the Dead had a BGP deal for a cut but The Who did not. Garcia and Kreutzmann both struck a friendship with Townshend.
The stage was in center field due to low tix sales, so the sound was better, the seats closer. Graham would then drop his dream of popularizing the Dead (while selling twice the tix) by having them play with another major act. The Who drew younger fans at the time. Ironic, then, that a little over a decade later teens clamored to see the Dead in stadiums along with the older fans. Bobby greets with "good morning " because they started before noon, before the fog had burned off (Graham was not allowed usage of the lights), to ten thousand or so - there would eventually be four times as many for The Who. They both played through The Who's PA , which makes the Dead sound different. They just seemed unfocused to the general audience, and to the Heads it seemed to be a slight show - which was disappointing, because this was the first large show for the Bay Area since the hiatus (there had been a 3-day and a 6-day run at the Orpheum, but it only held a couple thousand and public tix were only available at the 2nd run). In '76 there were many kids who knew the Who from their recent radio hits and saw the Dead as relics already. In fact, the band were flat in a few places - though maybe that was fitting in the fog - but there is also some extraordinary playing throughout. Still, this wasn't a big convert day for virgins. A few, sure, but online you can find remembrances of how turned-off most were, waiting for the Who among pie-eyes and twirlers from a stubborn generation. Weird fractured times during the rise of disco and punk. Phillip Garris (Blues for Allah artwork), designed the poster for the show, and said that there was an audience segment down front who were in heaven for both bands. Today, headphone evidence reveals, regardless of the vibe on the day, brilliant playing. Slightly better than the second day and up there with, say, 6/9, 6/14, 6/29, 9/25, & 9/28.
First Set. Promised Land was better the next day (all three repeats are better on the 10th), but things warm up for Half Step, which is unfortunately out of tune. Cassidy is short/sweet. There's a bit of confusion for Tennessee, threatening to ride off the rails. Looks Like Rain is out of tune as the sun hits; rubbery and flat. There's a brief reset and bam! The shuffle of a mellow They Love Each Other is detailed and intricate and Keith is brilliant. Everything tightens and Jer plays forcefully for a classic Minglewood Blues. There are excellent Jer fireworks for Scarlet - it may be better even than 9/25. The rest stays hot. Phil and Bobby are great on Sugaree. Jer tamps the band for a quiet passage that's dynamic and interesting.
Second Set. After a Spring Song>March of a Marionette>Graham-teased tuning comes a must-hear St. Stephen>Not Fade sandwich with nice, wandering sections. Help on the Way gets kind of wild but hangs on, and close listeners will spot Bobby briefly playing a Ming Left Body during Slipknot! (it's actually a jam, not a true Slipknot). Jer says "it's all yours man", handing off to the drummers, coming back for another great sequence, where Samson's jam DOES turn into a Slipknot! This is so Grateful Dead. Jer searches everywhere for fun combos in Franklin's Tower. The whole thing isn't perfect, but it's still made of win. Guitars are out of tune again going into Saturday Night but Jer tweaks to save; whatta pro. Gotta have one total flubby, though U.S. Blues still ain't a bad way to give the afternoon to Moon & Townshend.
1st Set:  B-
2nd Set: A-
Overall = 4½ stars
Highlights:
They Love Each Other - mellow but intricate and check Keith
New Minglewood Blues - Jer forceful
Scarlet Begonias - candidate for best of year
St. Stephen>NFA>St. Stephen - focused-yet-wandering sections
Help on the Way - hangs on wildly and a brief MLB from Bobby
Slipknot! - Jer jams a Samson into a knot
Franklin's Tower - full steam
SOURCES: The fix-10179_tetzeli is the most complete (only missing Drums) and has the best fidelity of the AUDs. The most complete SBD is the unknown_249 (missing Half Step through LLR and Sugaree) and the best second set is the miller_12519. The second set has been matrixed (there are no matrices for the first). The vernon_10179 is pitched fast and has a phase inversion in the left channel [all fixed by Tetzeli]. Dick's 33 is complete.

Yeah you right...

I was at this show! Lucky just to say I saw the Dead and the Who on the same day!!! Epic! Great show! Dead were great and the Who was classic!

get the sdb available a stash.nugs.net
http://stash.nugs.net/attics/frames.asp?page=/vault/show.asp&artist=1&show=77&cmd=shows />use this aud to fill in the missing songs (Half-Step through LLR) Solid Aud

To be there,altered, blissfully aware with mile long smile,thank you for being there too. Damn!Deadheads alive! Fan of The Who, but when The Who came on, after The DEAD, it was like someone wound up The Who Robots,(meaning they played Exactly the same show I saw a few days before, same stage antics, twirling of the mike you know what I am talking about)give them credit for that but they were killing my buzz.
Some people never got it. Joseph Campbell (not a DeadHead, not a rock and roll fan) ,got it. Get it?
It was really odd leaving the show but I wasn't alone,Who Die Hards were arriving, and a lot of Family was leaving. "Uncle Sam that's who I am, been Hiding out in a rock and roll band!"

I try not to bash people very often ,but this deserves a good bashing (I'm sorry it just does)
All I have to say is you are a fucking moron , plain and simple !
You truly are an idiot .
1. Jerry doesn't have a grave ,he was cremated .
2. Dick was put in charge of the vault by the band .He did a lot for the trading community .
Vault leaks and the sort .
I wish they would remaster EVERY great show and release them in their entirety .
So we could get cleaner , crisper versions .
I laugh when idiots like you bitch about official releases .
The are over 2000 shows in circulation dip shit !

...was the Grateful Dead's archivist back before God invented dinosaurs until his untimely death several years ago. He was responsible for bringing order to the chaos of the GD Vault - the Vault in it's current, well-preserved form probably wouldn't exist without him. The Dick's Picks series was started last decade as a way to bring the best of the GD's two-track masters to the masses in the highest quality possible, so people could hear them in all their glory instead, as Robbie Robertson might put it, "a dub of a dub of a dub of a dub of a tape of a dub of a dub." He wasn't a money-grubbing corporate type, but someone who put his heart, soul and sweat into the music he loved. He was to the Dead's archive what Jerry was to the Dead's performances. He will be missed by those who knew even a shred about him, and spat on by ignorant trolls who wonder why they're not paid for gazing at their navels.
P.S.
"When, in searching through the Archive, I find a show that meets all my criteria (song list, soundboard, etc.) and pull it up only to find out that DICK has decided that I shouldn't be able to listen to the soundboard version without paying him money, it makes me want to pop DICK right in the snout."
Dick Latvala was already six years dead when the boards were pulled from archive. He had nothing to do with the decision - "dick"!

My first GRATEFUL DEAD show AND my first WHO show. Need I say more?

One of my personal favorite Jer solo's here in this Franklin's. He builds the jam to such a creshendo, it really is amazing. I usually do not rate set's on their own, but this 2nd set is one of the all timers.
Great 2-day run in an overlooked year. 4 stars.

While there really are too many great shows to whine about a few that have been ripped from the public domain by DICK for profit, I will anyway.
When, in searching through the Archive, I find a show that meets all my criteria (song list, soundboard, etc.) and pull it up only to find out that DICK has decided that I shouldn't be able to listen to the soundboard version without paying him money, it makes me want to pop DICK right in the snout.
Who the hell is DICK, and who let him in here in the first place???!!!
BAD IDEA. DICK has Jerry spinning in his grave.